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CONISBOROUGH CASTLE. 

YORKSHIRE. 

Keep Tower. 



The Study of Ivanhoe 



H. A.0DAVIDSON. -; V, 



Topics and References 
Arranged for 
Teachers, High School Classes, and 
Literary Circles. 



THL LIBRARY OF 
Two Copies Receiveci 

SEP 28 1903 

-.Copyright tntry 
cuss <v xXcNo 
COPY B. I 




Second Edition, 



Copyright, igoo, 1903 by 

.•. .-.^I.iySj H;. A.-DAVI©BON, M. A., 
•• *••••••• • ••••• « 

• ••••••• * ••• * 

Albany, N. Y. 

Aut^yr;V '*3?ira-SK:i?(j/ t^R^op^l^i" '*y^erstudy of Henry Esmond," '*The 
Stu^y of *Silas Marner," and " Tlfe Study of the Vicar of Wake- 
field," The ''Creative Art of Fiction," "The Study 
of^the Idylls of the King," etc. 



Published by H. A. Davidson. 



Albany, New York. 



THE STUDY-GUIDE SERIES. 

Author and Editor, 
H. A. DAVIDSON. 



The Study of Ivanhoe, second edition. 

The Study of Romola, third edition. 

The Study of Henry Esmond, second edition, in October. 

The Study of Idylls of the King. 



New Numbers Announced: 

A Guide to English Syntax, 

Arranged for the study of Irving's " The Stage Coach " and 
*' The Mulatulity of Literature." 

The Study of the Historical Plays of Shakespeare: 

The Study of King John. Ready in October. 

The Study of King Richard Second. Ready in October. 

The Study of King Henry Fourth. 

The Study of King Henry Fifth. 

The Study of Richard Third. 

The Study of Julius Caesar. 

The Study of King Lear. 
Essays. Ready in November : 

The Creative Art of Fiction. 

Special Needs of Study Ciubs. 



For Description and Price List, see p. 63 



CONTENTS. 



Frontispiece: Conisborough Castle. Page 

Aims and Methods of Instruction, - - - . 5 

Note-Book Topics for Students, - - - - n 

Note-Book Topics for Teachers and Special Students, - 13 

Directions for Note-Book Work, . - - . j^ 

Composition Work, ..--.. jy 

References for the Study of Ivanhoe, . - . 20 

Division into Sections, ------ 25 

Order of Topics for Study, ----- 25 

Topics for Study, - - - - - - 26 

General Topics, ------ gj 

Criticism, --------57 

General Plan of Castle and Earthworks, - - - 20 

Vertical Section of the Keep, - - - - 21 

First Floor Plan, - . - . . 52 

Second Floor Plan, ------ 53 

Third Floor Plan -...,. 53 
Map of Ivanhoe Land, ----- after 64 



THE STUDY OF IVANHOE. 



AIMS AND METHODS OF INSTRUCTION. 



In the study of Ivanhoe, four subjects are of commanding im- 
portance: plot-structure, character-study, the use of incident to 
further the plot, and the setting or historical background. The 
most difficult of these is the historical element, since it involves an 
appreciation of those subtle differences in manner of life and thought, 
ethical ideas, culture, and degree of civilization, that measure the 
distance between the nineteenth century and the twelfth. The 
youth is fond of romantic tales but he is unable to escape his per- 
sonal experience or the environment of his own life. He transfers 
the incidents of the story that he reads to the present ; he pictures 
himself and his companions in the greenwood, or riding the lists, 
and thus fails to broaden his knowledge of men and of lands. By 
constant comparison, by many devices, the teacher must aid him in 
gaining an imaginative realization of the life and thought of the 
men of another age. He must learn that different times bring forth 
different sorts of men, whose beliefs and morals are shaped accord- 
ing to the light of their own day; thus he must judge them, rather 
than by standards of the present time. 

In teaching a work of fiction, it is most helpful to follow the plan 
of the author. He had a purpose in telling the tale. The place and 
time of its opening were chosen carefully and the precise order in 
which his characters should appear was most exactly determined 
upon with reference to the plot. The scenes of the novel were to its 



author a mimic stage and all the world of readers an audience for 
which he should act as scene-shifter, manager, and interpreter. It is 
fair, therefore, to seek his plan and question his purpose, step by 
step, as he interests us more deeply in the fortunes of Ivanhoe, 
Locksley, Rebecca, Cedric, and the Jew,— persons who will be num- 
bered among our familiar friends long after we have forgotten the 
school-fellows who pored with us over the page. 
y First, then, interest the student in the general question of the 
X^mber of characters required by an author in the creation of his 
book-world. How many characters in " Tom Brown's School Days", 
or in Miss Alcott's "Little Women"? How many did Scott intro- 
duce in ''The Lady of the Lake"? in the "Talisman"? Let each 
student begin at once to keep a list of all characters that appear in 
the story of Ivanhoe. Discuss the question of how to determine, in 
doubtful cases, whether the character mentioned should be included 
in the list or not. A study of indications in regard to the importance 
and connection of characters in the future story will prove interest- 
ing and fruitful. The student should regard characters at their first 
introduction as strangers, recently met. He may come to feel the 
same eager interest in the past life, the same desire to estimate 
traits of character and personality, as in the real world. 

In many novels, a certain number of chapters in the beginning 
are devoted to familiarizing the reader with the conditions under 
which the action takes place, to the introduction of characters that 
bear prominent parts, to any antecedent facts essential to an under- 
standing of the narrative ; the beginning, or starting point, of the 
action, also, is usually given in connection with this initial and 
necessary information. The natural point of division in assign- 
ing the first section for study is always at the close of these 
introductory chapters. 

In Ivanhoe, the first natural division includes chapters i.-vi. The 
study should be directed to the main purposes of the author. Let 
us discuss in some detail the work that a class in the high school 
should do in this first section. First, inquire where, geographically, 
and when, historically, the story opens. From the very beginning, 



accustom the pupil to the use of the map as if he were following the 
route of an army ; require him to present proof of each statement 
that he makes, with exact reference to his authorities or to the facts 
on which he bases his inference. 

Secondly, ask where in these chapters the real beginning of the 
story is found. This does not mean merely the opening scene, but 
the incident, condition, or whatever it may be, which, as cause, 
leads to something else that otherwise would not have occurred. ^ 
This will lead to a discussion of the question whether the opening 
scene introducing Gurth and Wamba contains the real starting point 
of the action. If not, there must have been other reasons in Scott's 
mind for opening his story thus. If the true beginning is found in 
this scene, then it must be shown that to change it essentially would 
change the course of the story that follows. The student should also 
note all information given about persons or events before the begin- ^ 
ning of the story, and should try to account for its introduction. 
Why are we told of a wager that had been laid between Prior Aymer 
and the Templar? Why is the quarrel between Cedric and his 
absent son hinted at? What occasioned it? 

After the beginning of the action has been found and the rela- 
tion of all antecedent material to it has been discussed, an out- 
line should be made of every incident, fact or condition, which 
advances the plot, to the close of chapter vi. This should consist of 
a statement, in sequence, of every step essential to the plot as far as 
it proceeds in these opening chapters. All incidents, descriptions, 
etc., not essential to the plot, should be discussed to find the reasons 
for their introduction ; these may be in the development of the char- 
acters; in the setting; in the illustration of the times, historically, 
etc. Some reason for each there must be; the novelist has too great "^ 
a task in the presentation of his main purpose to waste time upon 
incidents, however interesting, that have no vital connection with his 
narrative. Moreover, the introduction of even the briefest descrip- 
tion for its own sake rather than for its relation to the other parts of 
the story would be a defect in artistic unity. 



Thirdly ; there should be careful study of the characters intro- 
duced in this section. How many? Which seem likely to be impor- 
tant? Which attract the reader? Which repel? Why? Here, 
reasons should be given with great care and fullness but without 
reference to anything contained in the later chapters of the novel. 
The teacher should direct the attention of the pupil to any signifi- 
cant relationship between characters, if not otherwise brought out, 
by suggestive, but not leading questions. Each pupil may profit- 
ably select one character for special study throughout the book. He 
may write a description and discussion, from the point of view 
gained by first impressions. If this special character study is under- 
taken, the essential points are, first, the inclusion of all the informa- 
tion really given by Scott ; secondly, the bringing out of all that a 
fairly intelligent observer of human nature should be able to infer ; 
thirdly, the organization and arrangement of this material in liter- 
ary and original form. This should include some discussion of the 
effect of one character upon another ; for instance, in the later chap- 
ters of Ivanhoe, of the effect of Rebecca's character upon Brian de 
Bois-Gilbert. 

From the first, in the study of Ivanhoe, the teacher must prepare 
the way for a clear definition and illustration of certain characteris- 
tics of the author. For instance, after the student has made an 
exhaustive list of traits of character, descriptions, etc., given in 
chapters i.-vi., he may be asked which are typical of the class to 
which the person belongs and which distinguish him as an individ- 
ual. What parts of the description of Wamba could be applied to 
some other jester of that period? What qualities and peculiarities 
individualize him? This kind of work leads directly, in the end, to 
the critical appreciation of Scott's characteristics as a novelist. 

Fourthly, there remains the question of the historical element in 
chapters i.-vi. This is found in the customs, social distinctions, man- 
ner of life, of the time, and is brought out chiefly through contrast 
and description in connection with incidents essential to the plot. 
The note-book may be an aid in distinguishing the historical ele- 
ments of the novel. If employed, the student must be taught, at 



once, to enter the characteristics merely by the title, with reference 
to the page whereon the illustration was found. 

For instance: — 

Serfdom, (Gurth), p — 
The use of the horn, p — 

The mixed Norman and Saxon dialect in use, page — , 
etc., etc. 

Characteristics peculiar to the Norman period should also be 
distinguished from those belonging to the entire period of the mid- 
dle ages, although here the student must depend upon the broader 
knowledge of the teacher for guidance. Such topics as the follow- 
ing will give definiteness to this part of the work : How many classes 
of persons have been introduced in these chapters? How did each 
of these classes regard the Jews? Describe a Norman from a Saxon's 
point of view ; a Saxon from a Norman's point of view, etc. 

In suggesting chapters i.-vi., as the first section in the study of 
Ivanhoe, it is not implied that all the work on them should be done 
in one lesson. They should be assigned and read at once, since the 
various topics for study require an intimate knowledge of all. At 
the close of the study of this section, the teacher should ask each 
student to prepare a statement of the things he would care most to 
learn in the succeeding installment, were Ivanhoe a serial of which 
six chapters only had appeared. These statements will usually 
bring out three leading points of special interest upon which the 
further development of the plot depends. 

The second natural division of the novel, Ivanhoe, includes 
chapters vii.-xv., and has for its climax the tournament. The treat- 
ment of each section should proceed in the same general manner 
that has been indicated for the first; character study, selection of 
essential plot elements, characteristics of the time, are all topics that 
should be continued. In addition, the essential unity of this section 
as an act in the development of the novel should be brought out. 
The teacher should determine, in the beginning, all the important 
objects Scott had in mind in this act, and the means employed in the 
accomplishment of each; he should then guide the pupil, through 



definite, concrete study, to an appreciation of these points. At the 
close of the section certain topics designed to bring out the literary 
and dramatic qualities of these chapters should be assigned to all, 
as: Which bit of description do you think the finest? Why? Which 
incident do you consider the most effective and dramatic ? Which 
do you think most important in the development of the story? What 
was Scott's idea of a hero? etc. 

Scott has himself chosen the beginning of the seventh chapter 
as the point for the introduction of some historical information. He 
wrote for English readers in whom he presupposed considerable 
familiarity with their own history. If English history has been 
studied by the pupils, previous to the study of Ivanhoe, no special 
work in it need be taken here. If there has been no such collateral 
study of history, it must be introduced at this point; it should 
include a general knowledge of the Norman conquest, and of the 
reigns of the Norman kings, and a more detailed study of King 
Richard's reign, including the crusade on which he went, the occa- 
sion of Philip's enmity, his imprisonment, etc. 

Care should be taken by the teacher, as the study proceeds, to 
avoid the repetition of work already well done, and to include the 
characteristic features of each section,— its relation to the others, 
purpose, climax, and incomplete threads. There will also arise in 
the later chapters many questions which could not be discussed 
until nearly all the material contained in the book was well in hand; 
as, a comparison of Rebecca and Rowena; the question of what 
Rowena would have done in Rebecca's place, of the number of 
times that Scott rescues persons by the narrowest chance ; the ques- 
tion of whether the second great crisis, the trial of Rebecca, is as 
intense and effective as the first. 

Care should always be taken to provide the students with 
unmutilated texts. In some cheap editions now on the market, 
many pages, chiefly of historical material, are omitted, and examin- 
ation proves that essential steps in the development of the plot are 
also missing. 



I 



-^^s.. 



II 

Note-Book Topics for Students. 

Preliminary : 

I. List of the Norman Kings of England, with dates of reigns. ^ 
II. Geneological Table of the Norman Kings from William I. to 
John, showing relationship. 
f III. List of Scott's novels in the order of pubhcation. 

IV. List of Scott's novels in the order of the historical events 
which form the subjects, with dates showing the period 
or century. 
V. Chronology of the Composition of Ivanhoe. 
* VI. A list of the chief Crusades, with dates, and names of leaders. ^^^ 
VII. Historical chart showing, for the reigns of Richard and John: 

a. The Rulers in France, Austria, Germany, England. ^ 

d. The Pope, at that time. 

For work throughout the course : 

VIII. Chronology of the novel, Ivanhoe. 
4^ IX. List of characters in Ivanhoe. 

Enter the name, at its first appearance, in the note-book, . 
and star all historical characters. 

Characteristics of the Century: 

X. Mark in the Ivanhoe and keep a list of headings, references, 
etc. 
Whatever in dwellings, customs, class distinctions, beliefs, 
etc., marks that period as different from later centuries 
belongs here. 

History in Ivanhoe : 

XL A list of historical incidents, etc., employed by Scott, with 
references to histories which are authorities for the facts 
or events. 

Any departure from historical accuracy, either in fact or in 
the presentation of character, should be noted here. 



12 



Plot outlines : 



XII. Those incidents or facts belong in a plot outline which 
determine subsequent events. They give, in outline, the 
effective presentation of the theme and lead inevitably to the 
climax and conclusion. It is necessary, always, to distin- 
guish carefully between such events or facts as have deter- 
/ mining force, and those incidents which are illustrative, or 
Xcontribute to character building. 

The beginner who is uncertain whether an incident forms 
part of the plot outline or is only descriptive and illustrative 
may inquire whether anything results that would have hap- 
pened differently had this incident been changed. Let him 
remember that in each chapter all the facts or incidents 
really essential to the progress of the story belong in the plot 
outline, and no others. An outline of the plot elements 
found in chapter v. is given in the directions for note-book 
work. This will illustrate both a convenient method of mak- 
ing such outlines, and the selection of essential points. Notice 
the reason for the selection of each point given — that it is, in 
a vital sense, the explanation, or cause of something that 
happens thereafter. 

Special character study: 

XIII. Choose one of the characters in Ivanhoe for special study. 
Mark in your copy of Ivanhoe ever}'' item of the analysis, 
description, and development of the character chosen, and 
inquire about, 

a. Appearance and peculiarities as an individual. 

b. The particulars in which the character represents, typi- 
cally, life in the 12th century. 

c. Moral qualities. 

d. Intellectual qualities. 

e. Influence of persons and circumstances upon the 
character. 



n 



13 

/*. Influence of the character upon persons and events. 
g. Weaknesses. 
h. Strength. 

t. Purpose of the character in the development of the plot. 
j. How does Scott present the character? 
k. If other novels have been studied, compare Scott's 
method with that of another writer. 
Note. — For the use of the material collected in the note-book in 
character studies and compositions, see pp. 37, and 54. 



Note-Book Topics for Teachers and Special 
Students. 

XIV. Sources of incidents, characters, descriptions, etc., in the 
story of I van hoe. 

Note. — These may be found in Lockhart's Life, in Scott's Jour- 
nal and Letters, in histories and other books. For the suggestion of 
the Jew in Ivanhoe, see Lockhart's Life, vol. v., page 295. 

For the Norman castles in England, the confiscation of land^ 
the means employed by the Normans for maintaining supremacy 
over the Saxons, see the works of Green, Freeman, Pearson, Stubbs, 
and other historians. 

XV. Antecedent Material : 

The beginning of a plot is always found in some incident, 
condition, relationship, which invariably brings on other 
incidents as a result, thus starting a course of conduct, a 
series of events, which lead to a climax and conclusion. In 
many novels it is necessary to acquaint the reader with 
incidents belonging to a time preceding the opening of the 
plot. This information is called antecedent material and is 
imparted to the reader by various devices, but does not form 
an integral part of the story. 




14 

XVI. Forecasts : 

These are hints about the future course of the story found 
in the earlier part of the narrative. 

XVII. Historical accuracy of incidents, customs, etc. 

This topic is for special students. It involves a compari- 
son of each historical ; incident, character, etc. , with the 
accounts found in the best histories of the period. In the 
case of costumes, customs, etc., it is necessary also to inquire 
whether they properly belong to the period in which Scott has 
placed them. The question of historical accuracy belongs to 
the consideration of the literary or dramatic qualities of the 
novel only in so far as a faithful presentation of life at the 
end of the 12th century was an essential part of the author's 
purpose. 

XVIII. Characteristics of Walter Scott, the author : 

Put here notes of any peculiarity which seems to you to 
belong to Scott's work or habits of mind, with reference to 
the illustrations that you have found. Do not look for such 
characteristics on the first page, or in the first chapter. 
They are there, but you should become familiar with an 
author before you venture to pronounce the peculiarity you 
notice a characteristic. If it be such, other illustrations of it 
will appear as you go on. 

DIRECTIONS FOR NOTE-BOOK WORK. 

It is not the intention that each student should include all the 
note-book topics in his study. All the preliminary topics should be 
prepared and placed in the note-book for reference, in the beginning. 
Each one should keep The Chronology of the novel. The list of 
characters, and the Plot Outlines ; he may choose from the other 



15 

topics according to time and personal inclination. Each topic has 
some direct bearing upon the novel as a work of historical fiction. 
Plot outlines may be marked in the text. 

The suggestions given below for the use of the note-book in the 
study of the text of the novel or of special topics are designed espec- 
ially for members of study clubs, teachers, and special students. In 
the secondary school, the pupil's use of the note-book may wisely be 
limited to the collection of data on a few clearly-defined topics, to 
map-drawing, and to his own special character study. The princi- 
ple that note-books should contain only data really valuable for ref- 
erence, arranged and indexed in such form as to be readily accessible 
without loss of time, should be adhered to. 

Members of classes and reading circles should have two note- 
books: one for the orderly arrangement of whatever results of study 
may be worth preserving ; the other should serve as a tabula erasa, 
for the making of notes while reading or listening to lectures ; Prob- 
ably no student will care to take all the note-book topics. Each 
should select at least two and give to them some special attention 
throughout the study of the novel. Each note-book topic is intended, 
if faithfully used, to furnish the material for some intelligent and 
critical opinion about the novel. 

Note-book work is of three kinds. First, there is the collection 
of data about th e aii tbgr an^ ^^^ particular work studied ; this should 
be done in the beginning. Secondly, there is the collection of data 
upon s pecial topics suitable for investigation ; such data will serve, 
later, as a basis of critical inquiry : for instance, if the date of the 
opening scene of the novel is entered in the note-book under 
the heading, " Chronology of the story," and each succeeding period 
of time is noted as the reader finds mention of it, he will know, in 
the end, the length of time covered by the dramatic action, how 
many intervals occur, etc. The collection of such data is, of neces- 
sity, preliminary to any critical comparison of different novelists in 
regard to the time covered by their plots. It may be seen that the 
items to be entered under note-book topics iv. to xiv., inclusive, will 
be found singly and at intervals throughout the novel. It is conven- 



i6 



P' 



lent to write each topic at the top of a page, with a ruled column 
the left for reference to the pages of the text where items are found. 
The reader should keep this note-book always at hand and enter, in 
the fewest possible words, any item coming under one of his topics. 
When a page is filled, he should refer, at the bottom, to the nearest 
page in the book which happens to be blank, and at the top of that 
repeat the topic-title with a reference to the former page. In this 
manner it is easy to use one note-book for many topics, without con- 
fusion. Thirdly, there is note-book work upon th^jtopics^ of study. 
Many readers whose mental discipline is not such that theyBStJttu- 
ally organize the results of study will find the use of the pen a great 
aid to definiteness of thought. After careful study, it is often profit- 
able to summarize analytically the conclusions reached. 

In note-book work, it is a mistake to write full sentences or par- 
agraphs. The note-book should contain, in outline, such facts, points, 
or references, as will enable the student to recall instantly his proof, 
his arguments, or his conclusions, or analyses. This does not apply- 
to definitions or critical estimates, which cannot be worded with too 
great care. — Fro7n '* The Study of Romola,'' 

The following outline of the plot elements in chapter v. of Ivan- 
hoe will serve as an illustration of such work; 

Plot elements in chapter V : 

a. Enter Isaac, the Jew. 

b. The Palmer is kind to Isaac. 

c. The name of Ivanhoe. 
(i) The Palmer avoids it. 

(2) The Templar's anger and scorn at sound of it. 

(3) Rowena's championship of the absent knight. 

(4) Cedric's reluctant endorsement. 

d. Antecedent: 

(i) King Richard's tournament in Palestine. 
(2) The Quarrel between Brian and Ivanhoe. 

e. The Challenge. 

^. The Templar plans in the hearing of the Palmer to plun- 
der the Jew. 



17 

Each point here is introduced either to explain some evident 
fact, feeling, purpose, or to reveal the cause of something that fol- 
lows. In classes in schools, each student should prepare these out- 
lines independently, finding for himself a reason for each point 
selected. The value of this work lies in the exercise of the judg- 
ment and in the cultivation of an ability to perceive literary quali- 
ties, not in the results obtained. 

THE USE OF THE TEXT. 

It is desirable to use a copy of the text not too valuable for mark- 
ing. It is often convenient to note a series of facts by marginal ref- 
erences, or words, such as, *• Theme," " Plot," etc., and it facilitates 
later study of the characters to write the initial letter of the name of 
each leading character in the margin whenever any description ^ 
analysis, or other indication of personality, occurs. It will then be 
possible to trace a given character without re-reading. 

COMPOSITION WORK IN CONNECTION WITH THE 
STUDY OF IVANHOE. 

In the study of a work of fiction, pupils should gain, at each step, 
new ideas of the purpose and plan of the author in the particular 
work read, of his characteristics as a novelist, and of the art of fiction. 
The vocabulary of exact critical expression is difficult, and ideas that 
the young student clearly percieves under the stimulation of the 
instructor's presentation soon become indefinite through his inability 
to express them independently. It is therefore important that 
written tasks should be associated constantly with the reading and 
study. The subjects suggested or assigned should seldom involve 
the reproduction, in the author's own form and arrangement, of 
what Scott has told the reader. Young readers have remarkable facil- 
ity in remembering phraseology and will give a brief repetition of 
incidents or descriptions with little mental effort or profit. Essay 



i8 

topics should be so selected and guided as to develop {a) the imagi- 
nation of the pupil; {b) his perception of the artistic plan and method 
of the author; {c) his power of gaining from a text numerous details 
of fact or opinion and of organizing them in a new way in support 
of a thesis of his own. 

Below, will be found a list of subjects for work in composition, 
on one of the sections given for study ; they are intended merely as 
suggestions. It would be exceedingly unwise to repeat the same 
topics with succeeding classes. An inventive teacher will be able to 
devise similar topics in endless variety. 

I. Let Wamba tell the stor^^ of Rowena's preparation for the 

tournament, and of her journey. 
II. Imagine yourself in Reuben's place, listening behind a cur- 
tain when Isaac enters the room where he finds Rebecca, on 
his return from the journey with the palmer, and tells her of 
all that has happened. Be especially careful in describing the 
persons that Isaac had met as they would have appeared to 
him. Represent Rebecca as asking questions and Isaac as 
expressing his own opinions freely. 

III. Tell how Ivanhoe presented his letter to Kirjath Jairam in 
Leicester, and how he chose a horse. Tell, also, where and how 
Gurth found him, and give the first conversation between 
them. Did Gurth know how to care for a Knight's horse and 
armor, do you suppose? 

IV. Write a letter from Rebecca to a kinswoman in Spain, 
describing the tournament and her own feelings as it went on : 

a. On the first day. 

b. On the second day. 

V. Write another letter, later, as above, describing the return of 
the money, the rescue of Ivanhoe, and what happened on the 
following day. 
VI. Write an account of the contest in archery by means of a con- 
versation among a group of yeomen, on the following evening, 
Hubert being the chief speaker. 



I 



19 

VII. Let the Lady Alicia give an account of the choosing of the 
queen of love and beauty, and describe her rivals to the ladies 
at court, after all is over. Show whether she admires Prince 
John and flirts with him or dislikes him and secretly favors 
some one else. 
VIII. Describe Locksley's home and life before he became an 
outlaw. 
IX. Describe the incident that made Locksley an outlaw. 
Note. — Compare with the story of Robin Hood, in The Foresters, 
by Tennyson. 

X. Tell of some brother, cousin, or comrade for whom Locksley 
cared, who did not become an outlaw. Did Locksley visit this 
comrade ? How did he communicate with him ? What did the 
comrade do for him ? 
XI. Make a set of rules such as you suppose that Locksley gave 
to his band. 
XII. Tell the story of Locksley's first acquaintance with the Clerk 
of Copmanhurst. 
XIII. Describe a meeting of the outlaws and a feast, a few days 
before the tournament. 



Note. — The Keep of Conisborough Castle, p. 21 

Diameter of the tower, at ground level, - - 66 ft. 

Diameter of the tower, at first floor level, - - 52 ft. 

Buttresses project from tower, each, - - - 9 ft. 

Tower was originally, in total height, about - - 120 ft. 

Walls; at first floor level, in thickness, - - 14 ft., 11 in. 

at summit, " - 12 ft., 6 inch 

The illustrative wood cuts reproduced in this edition of The Study 
of Ivanhoe, were made from actual survey, by Mr. A. S. Ellis, and 
were published in the Yorkshire Archaeological and Typographi- 
cal Journal, 1883. — H.A.D. 



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22 

Topics and References for the Study of 
Ivanhoe. 

REFERENCES. 
Books which should be owned : 

A copy of Ivanhoe which contains the complete text, Scott's 
introductions and notes. 

The Life of Sir Walter Scott, by W. H. Hudson. 

A bound note-book. 

The Crusades, by G. W. Cox, Epoch Series. 

The Crusades, by T. A. Archer. 

A map of England and Scotland. 

Note. — Several editions of Ivanhoe prepared for school use are 
incomplete, and the parts omitted are essential in a critical stud}^ of 
the romance. Macmillan's Dryburgh edition is complete and 
contains Scott's introductions. Houghton, Mifflin and Company's 
Riverside edition is complete and contains a map of the Ivanhoe 
country. 

Books which should be found in school libraries : 
Scott's Life. 

Walter Scott, by G. Saintsbury, Famous Scott Series. 

Sir Walter Scott, by R. H. Hutton, English Men of Letters. 

Life of Sir Walter Scott, by C. D. Yonge, Great Writer Series 
(contains Anderson's bibliography). 

Memoir of the Early Life of Sir Walter Scott, written by him- 
self. Found in volume i. of Lockhart's Life of Walter Scott. 

Life of Walter Scott, by John Gibson Lockhart. 

Homes and Haunts of the British Poets, vol. ii., by William 
Howitt. 

Miscellanies: Abbotsford, by Geoffry Crayon (W. Irving). 



23 

The Journal of Sir Walter Scott, edited by David Douglas. 
(Includes only the years 1825-32). 

Familiar Letters of Sir Walter Scott. 

Unpublished Letters of Scott; in, Selections from the Manu- 
scripts of Lady Louisa Stewart. 

The Lands of Scott, by J. F. Hunnewell. 

The Waverly Dictionary, by May Rogers. 

Mrs. Oliphant's Literary History of England, vol. ii., especially 
chapter iii. 

The Scott co^intry, by W. S. Crockett. 

Development of the English Novel, by W. L. Cross, especially 
chapter iv. 

An Essay on Romance, by Sir Walter Scott, in Prose Works, 
vol. vi. 

Homes and Haunts of Sir Walter Scott, by G. G. Napier. 

A set of The Waverly Novels. 

Companion to English History in the Middle Ages, by F. P. 
Barnard, Clarendon Press. 

Note. — This book contains 97 plates and is invaluable; many of 
the plates are not to be found in books ordinarily accessible. 

Scott's first fiction; TFie writing of Ivanhoe. 

Lockhart's Life, vol. v., 292-7. 

Familiar Letters of Scott, vol. ii., year 18 18. 

Lockhart's Life, vol. ii., 17-20; vol. v., 216-17, 292-7, chap. 53; 
vol. viii., 141-2, 271. 

Walter Scott at Work, Chamber's Journal, vol. 46, p. 741. 

Descriptive Catalogue of the Writings of Sir Walter Scott, by 
John Thomson. 

Note. — This Catalogue is published as a bulletin by The Free 
Library of Philadelphia. It contains much rare and valuable infor- 
mation about the novels of Sir Walter Scott. 



1 



24 
The Age of Richard Coeur de Lion, 

The Crusades, by G. W. Cox, Epoch Series. 
"^ The Crusades, by T. A. Archer; series, The Story of the 
Nations. 

The Early Plantaganets, by William Stubbs, Epoch Series. 

The Normans in Europe, by A. H. Johnson, Epoch Series. 
..^ The Crusade of Richard I., edited by T. A. Archer; series, 
English History by Contemporary Writers. 

The Jews of Angevin England, edited by Joseph Jacobs, same 

series. 

Knight's History of England, vol. i., chapters 21, 22. 

Bright's History of England, vol. i., chapter 7, Richard I. 

Teachers and special students may also consult the History of 
England in the Middle Ages, by C. H. Pearson, vol. i., chap- 
ter xxxii. , and Stubbs' Constitutional History of England, vol. 
i., 433-553. 

These books are especially valuable on such points as Richard's 
means of raising money, The Jews in England, Richard's 
ransom, etc. 

Social England, by H. D. Traill. 
Norman Methods of Warfare, vol. i., p. 229. 
Social Life and Manners, vol. i., p. 371. 
-— Richard and John, vol. i., p. 262. 

A History of the Art of War, by C. Oman. 
^ The Knight, Book vi., chap. ii.,A. ; Fortifications; Siege- 
craft, etc. , chapter viii. 

Hallam's Middle Ages, vol. iv., chapter ix., part ii., topic. 
Chivalry. 

^^ Scott's Essay on Chivalry, in Prose Works, vol. vi. 

The topics. Military Orders, Knightly Training, Arms, Armour, 
and Armaments, will be found in The Crusades, by T. A. 
Archer. 

CA History of Chivalry, by C. Mills, vol. i., chapters ii., iii., 
vi., vii. 
Note.— This history was published at about the date of Ivanhoe 
and perhaps represents the knowledge then current on this subject. 
History of the Crusades, by J. F. Michaud, three volumes. 



25 

Antiquities, Castles, Costumes, etc. 

History and Antiquities of Doncaster, edited by E, Miller. 
Contains picture, plan, and description of Coningsburgh 
Castle. 

The History of Conisborough Castle with Glimpses of Ivanhoe 

Land. Compiled by H. E. Smith — London, 1887. 
Plan of Castle, p. 89, pictures, description, etc. 
Map of Ivanhoe Land, p. 121. 
^^^.-'''^he Dress and Habits of the People of England, by Joseph 
Strutt. 

Vol. ii., Partii. ; Of Saxons, before 1066, A. D. 
•• *• Part iii. ; Of Saxons, from 1066 to 1200, A. D. 
'* " Part iv. ; Of Anglo-Normans. 

" ** Part ii., chapter v., Funeral Customs; also plate xxix. 
Sports and Pastimes, by Joseph Strutt. 
Archery, Book ii.. Chapter i. 

Tilting, Tournaments, Justs, Book iii.. plates xii.-xv. 
Domestic Manners and Sentiments, by T. Wright. 
An Anglo-Saxon Mansion, plate No. 12. 
An Ancient Manor-House, plate No. 85. 
Early English Houses, chapters vii., viii. 
The Anglo-Norman Period, chapter v. 
^,^,^— ^ Castles of England, their Story and Structure, by Sir Jos. D. 
Mackenzie; fine illustrations of the typical features of castles 
may be found in these volumes. 

Robin Hood Stories and Ballads. 

Poems, Songs, and Ballads, edited by Joseph Ritson. Re-pub- 
lished with illustrations and an introduction in 1884, by 
George Routledge and Son. 

. Contains: A True Tale of Robin Hood, Part i., Ballad v. ; 

\ Robin Hood's Birth, Breeding, etc.. Part ii., Ballad i. ; 
Robin Hood and the Curtal Fryer, Part ii.. Ballad x. ; 
Robin Hood and Allan-a-Dale, Part ii., Ballad viii. 



26 

Specimens of Pre-Shakesperian Drama, b}'^ J. M. Manley, 
Athenaeum Press Series. Contains three Robin Hood Plays: 
Robin Hood and the Knight, Robin Hood and the Frier, 
Robin Hood and the Potter. 

Early Popular Poetry, edited by W. Carey Hazlitt; vol. i., con- 
tains The Kyng and the Hermyt. 

Letters on Demonology and Witchcraft, by Walter Scott. Pub- 
lished in Morley's Universal Library. 



Supplementary Readingr. 

Harold, the Last of the Saxon Kings, by Bulwer. 
Hereward the Wake, by C. Kmgsle} . 
-^_^ The Foresters, Robin Hood, and Maid Marian, by Alfred 
Tennyson. 
Life of Richard Coeur de Lion, by G. P. R. James. 
Autobiography of Scott. 
Shakespeare's King John. 
Talisman, by Walter Scott. 



Criticism : 

References for the study of the criticism of Ivanhoe are not 
included here. The reading of criticism should be deferred until 
the close of the study of the novel. Students are earnestly 
requested not to read criticisms of Walter Scott as an author, or of 
Ivanhoe, until they have become thoroughly familiar with the novel, 
and through the novel, with certain qualities and characteristics of 
the author. Critical opinions will then serve their true purpose, that 
of suggesting to one student the conclusions of another with which 
he may compare his own. The reading of criticisms upon literature 
of which one is ignorant is much like reading a guide-book in place 
of visiting a foreign land. 

— Adapted from The Study of Henry Esmond. 



27 

THE DIVISION INTO SECTIONS. 

The topics for study are divided into sections with reference to 
the natural grouping of incidents in the structure of the romance. 
The number of topics in one section may prove too many for one 
class, or too few for another; the teacher should re-arrange with 
reference to the maturity of his pupils and the time at their disposal. 
In many schools the time assigned to the study of Ivanhoe is 
extremely limited; in that case, it is usually wise to select with care 
and assign certain topics in each section, omitting others, instead of 
attempting to go over all superficially. 

ORDER OF TOPICS FOR STUDY. 

With young pupils, it is often wise to begin at once with Topics 
for Study, on page 26 and leave the study of the author until the con- 
clusion of the novel. When there is time, older students will profit 
most by a preliminary study of the author's education, travels, 
methods of work, etc. An intimate knowledge of Scott, the author, 
furnishes the best possible background for the study of one of his 
novels. Excellencies, or defects in the story arise, in most instances, 
from Scott's habits of mind, personal experience, etc., and the life 
of the man serves as a guide in the understanding of his literary work. 



28 



IVANHOE. TOPICS FOR STUDY. 



SECTION I. THE AUTHOR. 



An inquiry in regard to Scott's natural ability and training for 
authorship. 

References, see Scott's Life, pp. 20-1. 

I. Scott^s Childhood: 

a. The family, places of residence, the character and occu. 
pation of his parents, etc. 

b. Such incidents and facts as reveal influences affecting^ 
in any degree, Scott's future life or character. 

II. Chronology of Scott's life up to 1792. 

a. Where did he live ? 

b. How did he spend his time ? 

III. What education or instruction did Scott receive as a boy ? 

Note. — Make a list of the schools attended by the lad, showing 
the time spent in each, the character of the instruction, the special 
gain or failure of the student. Add the subjects in which he received 
private instruction and the studies he pursued by himself, for love of 
the subject. 

IV. What did Scott read in his childhood and youth? 

Note. — The student will find an account of his reading in the 
Autobiography. A list of the books with the age at which they were 
read will prove instructive. 



29 

V. What friends were intimately associated with Scott in 
his childhood and youth? Which of these seem to you to 
have influenced most the formation of his character ? 
VI. In what respects did Walter Scott differ from other boys ? 
How do you explain these differences ? 
VII. Compare Scott's education with that of an American boy 
of the present generation for the same number of years, 

a. In time spent in school, 

b. In studies, 

c. In reading. 

VIII. Which of the differences do you consider most important? 
Why? 
IX. What writing had Scott done before 1792, {a) in school, 

{b) for himself? 
X. What was there in Scott's life, education, or training, to 
fit him to write well? 
XI. What were Scott's criticisims upon his own education? 
Note. — See the Autobiography. 



30 
SECTION II. THE AUTHOR. 



XII. Why did Scott choose the bar as his profession rather 
than his father's department of the law? 

XIII. What course of study did he pursue in preparation for the 
bar? What special mental discipline did he gain from it? 

XIV. When and why did Walter Scott devote himself to liteta- 
ture as a profession ? 

XV. What important essays did Scott prepare for The Specu- 
lative Society ? What did these essays indicate? 
See the Autobiography. 

XVI. When did Scott begin to write in verse? How was his 
translation of Lenore published? 
XVII. When did Scott publish his first volume ? What did it 

contain ? Did it succeed ? 
XVIII. What did Scott publish next? Did this work succeed? 
XIX. How long did Scott practise at the bar? Did he succeed? 
XX. What offices did Scott hold which brought him an income? 

What demand upon his time did these positions make? 
XXI. What was the first original long poem published by Scott? 
XXII. What other poems followed? What income did Scott 
receive from his poetry? 

XXIII. When did Scott begin to write prose for publication ? 
Why? 

See Lockhart's Life, vol. ii., p. 129; vol. iii., p. 136; vol. iv., pp. 
23-34, I74-84. 

XXIV. How came the author to try historical prose? Why did 
Scott's friends oppose his writing fiction? 



1 



31 

SECTION III. THE AUTHOR. 

Scott's Travels : 

XXV. With what parts of Scotland was Walter Scott personally 
familiar either by residence or by travel? 

XXVI. Scott's journeys in England: 

a. Route, dates, length of stay. 

b. Special interest in each journey. 

XXVII. Scott's journeys on the continent : 

a. Routes, dates, length of stay. 

b. Purpose and special interest in each journey. 
Note. — Use a note-book and maps, and note the length of time 

spent in residence, or in travel. Reference to this leaf in the note-book 
will show at once, in case of any novel, whether the author was 
writing of scenes with which he was himself familiar or whether he 
depended for information on books or the observations of other 
travelers. 

XXVIII. How was Scott able to describe places that he had never 
seen? 

Note. — Select from Scott's novels or poetry descriptions of places 
that he knew well and also descriptions of places he had never seen ; 
let pupils compare carefully and note differences. In Scott's Life, 
seek information about the ways in which he gained knowledge, in 
detail, of scenes he had never visited; for instance, the manner in 
which he wrote the descriptions in Quentin Durward is given in 
chapter Iviii., of vol. vi., Lockhart's Life of Scott. 

XXIX. Scott's habits of literary work : 

a. Preparation ; gathering material, study, etc. 

b. Time spent in composition and revision. 

c. Regularity in work. 

d. Time spent per day; other occupations carried on at 
same time. 



32 

SECTION IV. INTRODUCTORY. 



The Author's Apology for Ivanhoe : 

1. What was Scott's purpose in undertaking the novel, Ivanhoe? 

2. What works of fiction had Scott written before he began 
Ivanhoe? 

3. Why did he choose the Scottish scenes and history as the 
foundation of his first romances ? 

4. What were the reasons for substituting English scenes and 
incidents in this novel? 

5. Why did he choose the end of the 12th centur}^- as the time for 
this story? 

6. What conditions did he think it necessary to meet in selecting 
a title? Where did he find the title chosen? 

7. What books and manuscript were his chief dependence in pre- 
paring to write Ivanhoe ? 

8. Did Scott believe that a writer of romance should invent his 
incidents or borrow them from old stories ? 

9. Which do you think would be the more difficult ? Why ? 

10. What is a romance, according to Scott's definition? 

11. How did Hawthorne explain the difference between the 
romance and the novel? See introduction to The House of the 
Seven Gables. 

12. What was Scott's rule as to the use of antiquated or obsolete 
forms of expression? In what did he criticize other writers? 

13. How do you define an anachronism in historical fiction? Did 
Scott intend to introduce anachronisms in his novels? 

Note. — For these topics, Scott's own introductions to Ivanhoe 
are the most important sources of information. 



/ 



I 



I 



33 
SECTION V. CHAPTERS I.— VI. 



/ 



14. Where, geographically, is the first scene in Ivanhoe located? 

15. When, historically, does the story of Ivanhoe open? 

16. What points did Scott think it necessary to emphasize in the 
mind of the reader before beginning his tale? Why? 

17. Why did Scott begin this novel by describing minutely two 
servants? 

18. What would be the reasons for beginning with one of the 
leading characters? 

19. Where, in these six chapters, does the plot of Ivanhoe begin? ^ 
How do you prove this? 

Note. — The plot is that thread of action which you follow with 
interest, and which must come to some conclusion before the novel 
ends. There must be something that is the cause of the quarrels, 
rivalries, difficulties, incidents, which succeed one another, and this 
first cause, wherever you find it, is the real beginning of the plot. 
This beginning may be an incident in the first, second, third, chap- 
ter; or it may be a quarrel, or a hatred, the real cause of which is 
something that happened before the beginning of this story. 

20. How many characters did Scott introduce in chapters i.-vi. ? 
Note. — In a play, a character is introduced to the audience when 

the person walks into view. In a novel, a character is introduced 
when the person really enters and acts, or speaks, in the scene that 
the reader imagines. 

21. Which of these characters do you think will play leading parts 
in the plot? Give reasons in the case of each, with references to 
the text in the support of your opinion. 

Note.— No reference to chapters of the novel later than chapter 
vi. must be admitted here. Reasons for the opinion presented must 
be found in hints conveyed by the author, in the care with which he 
describes persons, in the way in which they are treated, etc. In 
short, a skillful writer indicates pretty clearly his leading characters 
by his literary presentation at their introduction. 



34 

22. Which character do you most dislike? Why? Which do you 
fear most? Why? 

Of what do you learn in these chapters that really took place 
before the beginning of the story of Ivanhoe? 

Why was Rowena treated so differently from any other per- 
son in Cedric's household? 

Why did Cedric dislike to hear the name of Ivanhoe ? 

What were the characteristic features of a Saxon dwelling as 
it is represented in these chapters ? 

What marked differences in the dress of Saxons and Normans 
do you find noted in Scott's descriptions? 

What differences were most marked between the habits and 
manners of the Saxons and those of the Normans? 

What do you learn from the conversation of Wamba and 
Gurth about Saxons and Normans? About the life of a jester? 
A swineherd? About Cedric ? 

Which of these two, Gurth or Wamba, had really the better 
mind, do you think? Prove your opinion from the conversation. 

31. Find all the steps in the development of the plot, that is, all 
the points really essential to the advancement of the story, in 
chapters v. and vi. 

32. Which one seems to you of chief importance? Why? 

^ 33. How many groups of persons were wending their way toward 
the tournament? What was the special object of each in going ? 





23 




24 


V 


25 




26 




27. 


>C 


28. 




29. 


^' 


30. 



35 
SECTION VI. HISTORICAL. 

34. Show Richard's descent from William the Conqueror. *"■ 

35. During how many years had the Normans ruled over England ? 

36. Did these kings make their home in England or in Nor- 
mandy ? 

37. How many of these kings had been able to speak English ? "" 
. 38. Show on the map what possessions in France belonged to 

England at this time. 

39. Which of the Crusades was this on which Richard had gone ? 
What other great rulers went also on this Crusade ? 

40. What route did the kings and their armies take in going ? ^^ 

41. Was the Crusade successful in accomplishing the object for 
which it went out ? 

42. By what route did Richard attempt to return ? Why ? 

43. Why did the king of France hate Richard ? 

44. What other persons in Europe were interested in Richard's 
disappearance ? Why ? 

^ 45. How long had Richard been absent from England at the time - 

of the tournament ? 
y 46, In case of Richard's death who was next heir to the crown ? _ 

Who was likely to become king ? 
- 47. How did Richard come as a prisoner into the hands of Henry 

VI. of Germany ? 

48. On what charges was he tried ? At what ransom was he held ? 

49. How long did Richard remain a prisoner ? When and how 
did he escape ? When did he land in England ? 



36 
SECTION VII. CHAPTERS VII-XI. 
The Tournament : 

50. Where is Ashby ? 

Where did the Palmer leave Isaac ? 

51. Make a map of the tourney grounds, indicating on it heralds, 
lists, tents, etc. 

52. a. What men could become knights ? 

d. How were men trained for knighthood ? 

c. How did men become knights ? 

d. The armor and weapons of a knight at the time of Ivanhoe ? 
Note, — Consult encyclopaedias and books of reference under 

Chivalry. Also Hallam's Middle Ages, vol. iv., chap, ix,, part ii. ; 
The Art of War, by C. Oman, book v., chap, ii.. A.; The Crusades, 
by T. A. Archer, etc. 

53. What orders of knights are introduced in this novel ? 

What differences were there between these orders ? Were 
they friendly ? 

Could each order be recognized by the dress or armor of the 
knights ? If so, how ? 

Note. — See Hallam's Middle Ages, vol. iv., chap, ix., part ii., 
Chivalry. 

54. How many persons known to the reader were wending their 
way toward the tournament ? Show the routes on a map of 
England. 

55. What was necessary in order to enter the tourney ? 
On what conditions was the prize to be won ? 

56. For how many reasons did Scott begin the story of the tourna- 
ment with the incident between Prince John and Isaac? 

57. Do you find any reason for John's dislike, from the first, of the 
Disinherited Knight? 

58. What was it that won the favor of the people at the entrance 
of this knight ? 

59. Why did Rowena refuse to go to the king's banquet ? 



37 

6o. Why did Rebecca return the money paid her father ? 
6i. What was Garth's route from his master's tent to the house of 
Isaac, and on the return ? Consult a map. 

62. Scott found several reasons in the plan of his story for letting 
Gurth fall into the hands of the outlaws at this time; find, with- 
out consulting the novel after chapter xv., what they may have 
been. 

63. What do you learn from this incident about the organization 
of the band of outlaws ? 



SECTION VIII. CHAPTERS XII-XV. 

64. Did the laws of the tourney on the second day differ from 
those of the first day? Which day was the more important? 
Why? 

65. The two parties on the second day: 

a. Who belonged to each party? 

b. Why did each take the side he chose? 

66. At what moment in the story does the reader discover the 
identity of Ivanhoe? 

67. Had any one beside Gurth suspected who the Disinherited 
Knight was previous to the unlacing of his helmet ? 

68. How long since Rowena had last seen Ivanhoe ? 

69. Did Rowena intend by her words to convey to Ivanhoe a 
private message ? 

70. Find all the reasons you can for the author's decision that the 
second important incident of this novel should be a tournament ? 

71. What moment of the tournament was most exciting to the 
spectators ? 

72. What incident in the tournament do you think most important 
in this story ? Why ? 

73. If this tournament were to be represented on the stage what 
moment would be most dramatic and splendid ? Why ? 



38 

74- How could yon distingnish Normans and Saxons by appear- 
ance on the stage ? 

75. What new information about events before the beginning of 
the story of Ivanhoe can the reader gain from these chapters ? 

76. Why was the incident of the archery introduced ? Has it any 
connection with the plot ? 

77. Find all the plot elements that are included in the incident of 
the banquet. 

78. Was Cedric simple-minded or shrewd in his toast to King 
Richard ? 

79. What points of contrast between Normans and Saxons are 
emphasized in the account of the banquet? Why? 

80. Is the message from the French king to John historical ? 

81. Why did John dread Richard's return ? 

82. Find every reference in the novel, thus far, to King Richard or 
his friends ; what hints in regard to his character, his friends or 
enemies, do you gain from these references ? Did Scott intend 
that readers should recognize the Black Knight from the 
beginning ? 

83. What classes of persons in England belonged to John's party ? 

84. On what men did John chiefly depend ? What was the object 
of each in serving John ? 

85. Make a character study of Prince John, referring to some inci- 
dent or description in the novel in proof of each quality of body, 
disposition, or mind, that you attribute to him. Discuss his 
ability, his good qualities, his weaknesses. 



39 
SECTION IX., CHAPTER XVL, AND GENERAL TOPICS. 

86. How many groups of persons in which the reader is interested 
left the tournament ? Whither was each group going ? For what 
purpose ? 

87. For what purpose was the meeting at York called ? What was 
the position and policy of Fitzurse ? 

88. What arguments for supporting John influenced the nobility ? 
Note. — Topic 85 furnishes the teacher an opportunity for giving 

practice in the use of scattered material in making character studies. 
The material should first be collected in the note-book, with refer- 
ences to the text in support of points; then, the points should all be 
re-arranged according to some plan, so as to form an outline. After 
this, the outline may form the basis of written work ; in case it is 
thus used, the student should be taught how to write an introduction 
suggesting either the importance of the character to be described, 
the interest in the prince himself, the significance of his character as 
representing the times, or as that of a historical personage, etc. He 
should also be taught how to use the material gathered from the 
novel in connection with, and in support of, his own conclusions, how 
to make comparisons, introduce his own opinions, and, finally, when 
the end of the outline has been reached, how to write a conclusion 
that will sum up the substance of the essay and will be related, con- 
sistently, to the introduction. 

In the course of the study of Ivanhoe, successive character studies 
of this kind should be made. 

89. At the close of chapter xv. , what do you care most to know ? 
go. What do you think Scott's main purpose in the plot — a love 

story, or something else ? 

91. What was Scott's idea of a heroine ? Prove by reference to 
the text. At this point, which of the ladies seems the real 
heroine of Ivanhoe ? 

92. What characteristics were essential to Scott's idea of a hero ? 
Prove as above. To how many characters in this novel has 
Scott given some of the qualities belonging to a hero ? 



40 

93. Which character do you think most vividly and really pre- 
sented in chapters i.-xv ? Why ? 

94. a. Which character do you like best ? Why ? 

b. Which one do you dislike most ? Why ? 

c. Which character has the finest intellect? The strongest 
will? How do you prove this? 

95. Which characters seem to you most representative of life in 
the 12th century ? Why ? 

96. Which conversation in chapters i.-xv. do 3'ou think the finest ? 
Why? 

97. What description of a place in chapters i.-xv. is finest ? What 
tests do you use in comparing descriptions of places ? 

Note — Each student should select at least three descriptions of 
places for comparison, and decide upon the one of these that seems 
to him finest. 

98. What characteristics of life in the 12th century as different 
from our own, have you found thus far ? 

Note. — This topic should be prepared in the note-book with 
references to the text, and the characteristics should be classified ; as, 
those belonging to dwellings and manner of life, amusements, super- 
stitions, etc., etc. 



41 
SECTION X. CHAPTERS XVL— XIX. 

99. What evidence of the true character and occupation of the 
hermit do you find in chapters xvi., xvii? 

100. Were there really hermits in England, in the 12th century? 
Where? How did they live? 

See The Hermits, by Charles Kingsley, Encyclopaedias, etc. 
loi. In what respect did the clerk of Copmanhurst imitate the 
life of the true hermit ? 

102. What can you infer of the history and character of the Black 
Knight from these chapters ? 

103. Why did the Black Knight refuse to fight with the clerk? 

104. Why was the clerk so unwilling to trust the Knight ? 

105. What customs belonging especially to mediaeval times are 
illustrated in these two chapters ? 

106. Where did Scott get the story of the clerk and the Knight? 
See Introduction to Ivanhoe. 

107. Why did the author of Ivanhoe like this story and especially 
wish to use it? 

108. Could this story be left out of the novel without spoiling the 
main plot of Ivanhoe ? 

Note. — The author of a novel has a right, sometimes, to intro- 
duce interesting incidents which do not really belong to the plot for 
the purpose of exhibiting the characters of the story, of illustrating 
the customs of the times, or for other similar reasons. An incident 
belongs to the plot only in case it cannot be left out without chang- 
ing the course of the story. The student will be able to prove easily 
whether other parts of Ivanhoe depend upon this incident, and, if so, 
to tell what they are. 

109. Has Scott used a hermit as a character in any other of his 
works? 

no. What was Cedric*s route on the way from Ashby ? How long 

a journey had he to go? 
III. How did women travel in England at this time? How was 

t>aggage carried? Where did people usually put up for the night? 



42 

112. How many persons and animals, according to your estimate, 
were tra¥elliiig in Cedric's company? 

113. Hcfw many times has Fangs been introduced before? For 
what reason, each time? For what special reasons is the dog 
bronght in again at this point ? 

114. A character study of Cedric np to this time. See the previ- 
ous note on the writing of character studies, pp. 12, 13 . 

115. ^ In what diaracteristics did Scott intend that Cedric shonld 
r^resent the Saxon race? 

b. What were Cedric's personal peculiarities? 

c. Was Athelstane a true Saxon? 

116. On what plan had Cedric set his heart? What difficulties 
were in the way of its fnlfiUment? 



SECTION XI. CHAPTERS XX,— XXV. 

117. Show in how many ways Scott p.- zhand for the 

events of chapter xx. 

118. How many incidents essential to the s: ^i :: :e do you 
find in chapter xix? Which one is most i' : z'. Why? 

119. What happened that De Bracy hai n : ^n : i ri :- 
planned for? 

12a Can you prove whether either De Bracy or Bois-Guiiz-er: 
expected to find the Jew and his datighter xn the compizy 
of Cedric? 

121. The character of Gurth illustrates one of the occupations of 
serfe and also their position in the izth century; is it essential 
to the plot, that is, to the progress of the story up to the close of 
(diapter xx? 

122. What orders had Locksl^ g^en the different members of 
his company immediately after the tourney? 

123. How did he happen to be so near Cedric's party at the time 
of the surprise? 



43 

124. Why did Locksley wish the clerk of Copmanhurst to live as 
a hermit? 

125. Make out the directions or rules for the regulation of his life 
that you suppose Locksley gave the clerk, and explain the reason 
for each. 

126. Why did Locksley judge the knight a true Englishman? 

127. What do you consider the most important thing in chapter xx? 

128. How many and what incidents in the previous story were 
necessary to bring this important thing to pass? 

129. How many of the incidents narrated in these chapters were 
going on at the same time? 

130. How does Scott get the reader from one to the other? Why 
did Scott introduce the story of the Black Knight and the Clerk 
before telling us what became of Ivanhoe and where Cedric's 
party went? 

131. Make a plan of the castle and defences of Torquilstone that 
will satisfy all the conditions of the description of the castle and 
siege contained in these chapters. 

Note. — Consult Encyclopaedias, English Histories, etc. Plans 
will be found under heading, Castles. For location see map, 
especially map of Ivanhoe Land; see references. 

132. Locate on your plan each one of the prisoners. 

133. Why did Scott introduce the long story of Torquil Wolf- 
ganger in this chapter? Could it be left out ? 

134. Who did Cedric think had captured his party? How did he 
expect to get away? 

135. What characteristics of the Saxon race are illustrated in 
this chapter? 

136. How long after this time were the Jews expelled from Eng- 
land? When were they re-admitted? 

137. Were the Jews really treated at this time as Scott represents 
in Ivanhoe? 

Note.— The student can only establish Scott's accuracy by 
bringing references to historians of authority, giving instances, etc. 






44 
SECTION XII. CHAPTERS XXI.— XXV.; continued. 

138. Show why Scott has told what happened to Cedric first, to 
Isaac second, to Rowena third, to Rebecca fourth ; why did he 
not place the scene in Rebecca's chamber after that in the dun- 
geon, or use some other order in his narration ? 

139. How does Scott account for Rowena's lack of courage and 
fortitude ? 

140. Would Rowena have consented to De Bracy's plan had no 
interruption from without the castle occurred ? What reasons 
would have influenced her to yield ? What were the reasons in 
her mind for not yielding ? 

141. In what respects was Rebecca's case more desperate than 
that of Rowena ? 

142. Compare Rebecca and Rowena in respect to : 

a. Treatment in the Castle. 

b. Motives that might impel either girl to yield to her fate. 

c. Reasons, in the case of each, for opposing fate. 

d. Resources and means of escape or of modifying the threat- 
ened danger. 

e. Character. 

143. Which do you most admire ? Which would have done most 
for Ivanhoe ? 

144. How many scenes did Scott close with the winding of the 
horn ? Why did he use the horn in this way ? 

145. Would such a combination of circumstances be probable in 
real life ? 

146. In case no rescue from without had appeared, forecast the 
result for each character within the castle ? 

147. Which is the better, to lead up to the siege, or rescue, if there 
is to be one, from within the castle, or from without ? 

Discuss the sources of interest, the means of making all the 
details clear to the reader, and the advantages of each method. 

148. Can you explain Scott's reasons for choosing to describe this 
siege from within the castle ? 



45 

149- Compare Front de Boeuf, De Bracy, Brian Bois-Guilbert, 
Waldemar Fitzurse : 

a. What qualities, if any, belonged to all these men ? 
In what qualities did they differ ? 

b. Which one of them represents most typically Scott's idea 
of a Norman ? 

150. Can you prove from the challenge which one of the persons 
signing the paper composed it ? Who wrote it out ? 

151. What was the result of the challenge ? 



SECTION XIII. CHAPTERS XXVL—XXVIII. 

152. Why did those within the castle wish a priest sent in ? 

153. Why did those without wish to send one in ? 

154. What were Scott's reasons for employing this device in tell- 
ing the story of the siege ? 

155. How many points in the development of the plot are con- 
nected with this device ? 

156. To w^hat is the special interest and anxiety of the reader 
during Cedric's progress from his room to the postern due ? 

157. What conditions did Front de Boeuf propose exacting from 
his prisoners ? 

158. What was the plan of defense ? 

159. What was the plan of attack ? 

160. Was it possible to take such a castle as Torquilstone except 
by siege ? 

Note. — Refer to the plan of the castle, inquire about the usual 
breadth and depth of moats, the thickness and height of walls, the 
means of assault, etc. See references under Castles. 

161. Why did Scott bring Brother Ambrose into the castle ? 

162. In the conversation between Ivanhoe and Rebecca: 

a. What did Ivanhoe mean by the term *• Chivalry " ? 



46 

b. What was the difference between Ivanhoe's idea of 
bravery and nobility of character, and Rebecca's conception of 
the same qualities ? 

c. Which view was nearer the modern opinion ? 

163. Trace every step in the series of incidents that brought about 
the imprisonment of Ivanhoe in the Castle of Torquilstone, and 
made Rebecca his attendant there. 

164. How had Rebecca acquired her knowledge of the healing 
art ? Was there anything mysterious in her skill ? 

Was the time proposed for the healing of Ivanhoe *s wound 
reasonable ? 

165. How had Rebecca persuaded Isaac to care for Ivanhoe ? 

166. What motives determined De Bracy's treatment of Ivanhoe ? 

167. Did Rowena suspect who was carried in the litter of Rebecca ? 

168. If Scott had wished to introduce this account of what became 
of Ivanhoe before the story of the capture, at what point in the 
narrative would it have come in best ? 

Why did he give these incidents after the story of the 
capture ? 

169. Why did Scott write note 16 in regard to the device on the 
Black Knight's shield ? 



47 
SECTION XIV. CHAPTERS XXIX,--XXXIII. 

170. If you regard the siege of Torquilstone as a separate inci- 
dent, show, 

a. Where and in what is the beginning ? 

b. What steps lead to the climax ? 

c. When and in what is the climax ? 

d. Where is the conclusion ? 

e. How does Scott give unity in this description ? 

171. In what parts of the siege does the author place the reader 
within the castle ? Why ? 

In what parts without the castle ? Why ? 

172. Which parts of this description appeal most vividly to the 
imagination ? 

Which parts appeal most keenly to the sympathy ? 

173. For what reason does this scene excite intense interest ? 

174. In closing this incident, what unfinished threads of plot did 
Scott leave ? Why ? 

175. This is the second time in the novel that Brian and Ivanhoe 
exchange words of defiance ; what is the result of this encounter ? 

176. Is the reader more interested in the fate of Rowena or 
of Rebecca ? Why ? 

177. Are any persons unaccounted for at the close of chapter 
xxxi ? 

178. Are there any whose fate is doubtful ? 

179. How many of the characters of the novel enter in chapter 
xxxii ? 

180. How many different incidents find a conclusion in chapter 
xxxii ? 

181. Make out the rules that you imagine Locksley gave to his 
company in regard to spoils and violence ? 

182. What was the outlaw's plan in the scenes in chapters xxxii. 
and xxxiii ? 

183. What struck the Black Knight most in the scenes he wit- 
nessed ? 



48 

184. What was Locksley's real purpose in the management of his 
band ? 

How had he secured the obedience of so many wild and law- 
less men ? 

185. a. Give, in order of importance, the terms of settlement decreed 
by Locksley for each one before the Sylvan Court. 

b. What was his own share of the spoils ? 

c. What do you learn of Locksley's past life and conduct from 
this scene ? 

186. What incidents of this scene in the wood suggest to you that 
the future course of the story may depend upon them ? 

187. Did the Black Knight act wisely in letting De Bracy go ? 
What reasons for doing otherwise do you find ? 

188. If you were to represent the Sylvan Court by tableaux, what 
scenes would you choose ? Which would be prettiest ? Which 
would be most interesting ? 

189. If these scenes were to be acted by amateurs, the conversa- 
tion being given, which scene would be most interesting and 
effective ? 

190. Tell whither each group at the Sylvan Court went when all 
scattered. 



49 
SECTION XV. CHAPTERS XXXIV.-XXXIX. 

191. What characteristics of Prince John are shown in chap- 
ter xxxiv? 

192. a. What dangers threatened John? 

b. Wherein lay his strength? 

c. Wherein lay the weakness of his party? 

d. What was John's real plan? 

e. Did John fear De Bracy or Fitzurse the more? Why? 

193. What three plans were open to De Bracy? 
What were the arguments in his mind for each? 

194. What was the plan for attacking Richard? 

195. How many preceptories of the order of the Temple existed 
in England at this date? Where were they? 

196. How old was the order of the Temple at this time? By 
whom was it founded? For what purpose? 

197. What were the ideals and rules of the order of the Templars 
in the beginning, according to the grand master? 

198. What was the purpose of Lucas Beaumanoir's life? What 
motives do you suppose impelled him? 

In what respects is this character typical? 

199. Why is he introduced at just this point in the story of 
Ivanhoe? 

200. How many different persons wished the downfall of Brian 
Bois-Guilbert? 

Show the reason in each case. 

201. Had he friends who really cared for him? How do you 
decide? 

202. What chain of circumstances has prepared the way for a 
charge of witchcraft against Rebecca? 

Note. — In answer to this topic, the student should find the 
earliest evidence in the novel that Scott had this charge in mind, 
and trace the preparation for it up to the trial. 

203. Why was the grand master eager to prosecute Rebecca on 
the charge of witchcraft ? 



50 

204. What was the punishment of witchcraft in the laws of Moses ? 

205. What was the penalty of witchcraft in England at this time? 

206. How is witchcraft proven? 

Compare with the testimony in the trials at Salem; see 
American history. 



SECTION XVI. CHAPTERS XXXIV.— XXXIX. ; continued. 

207. Who brought the charge in this trial ? 

Who decided whether the prisoner was guilty ? 

208. What means of defense, in the trial, were furnished Rebecca ? 

209. What effect did Scott wish to produce by his description of 
the hall and the trial scene, in chapter xxxvii ? Why ? 

210. What were the special charges against Rebecca ? 

211. Find all the evidence that weighed against her. 

212. How did Rebecca answer the accusations against her ? 

213. What did Scott intend to show the reader by her words ? 

214. What means did Scott employ to increase the sympathy of 
the reader in behalf of Rebecca ? 

215. Why did Rebecca appeal to Brian ? 

216. Upon what did her chance of life depend ? 

217. What was Herman's object in suggesting that Rebecca's 
gage be given to Brian ? 

218. Did Lucas Beaumanoir believe in witchcraft ? 

219. In how many points did Rebecca's letter to her father differ 
from one that Rowena might have written ? 

220. In what respects are Brian and Rebecca placed in contrast, in 
the conversation in chapter xlv ? 

221. What had been Brian's plan for the defense of Rebecca ? 

222. What was his main purpose in this conversation ? 

223. Do you see any clmnge in Brian's regard for Rebecca since 
his first conversation with her ? In what do you find proof of 
your opinion ? 



51 

224. Did Rebecca feel any admiration for Brian ? Any sympathy ? 

225. The struggle in Brian's mind on the eve of the trial : 
a. The plans open to him. 

d. The motives that impelled him to each. 

c. The motives that withheld him from each. 

d. What means were taken in Templestowe to prevent the 
Templar from changing his mind ? 

e. Why were the grand master and Malvoisin anxious to 
compel him to fight against Rebecca ? 



SECTION XVII. CHAPTERS XL.— XLIV. 



226. Was Ivanhoe's desire to follow Richard superstitious ? Is 
it an element of the plot necessary to the progress of the story ? 
How do you prove it a part of the plot or not ? 

227. How far back did Scott begin to prepare for the scenes in 
chapter xl ? 

Upon what did Richard's rescue depend ? 

228. What was Richard's reason for bidding Fitzurse not to men- 
tion John's name in connection with his treason ? 

229. What is the most critical moment in this chapter ? 

230. There are in chapter xl., at least twelve or fifteen items 
necessary in the plot. Make a list of these and explain, in the 
case of each, why it could not be omitted without changing the 
course of the story. 

Note. — Let each pupil in the class prepare this list without con- 
sultation with others; in the recitation, see who has the most com- 
plete list and allow the members of the class to challenge any item 
that does not seem essential to the story. 

231. What was Richard's plan for regaining his crown ? What 
indication of this plan has the reader previously had ? 

232. a. What characteristics of King Richard appear in chapters x 
and xli ? 




:n<P,s^ TLooit^jitE/t^- 



V/alls, at first floor level ; thickness, - - 14 ft, ii in. 

at summit, " - - 12 ft., 11 in 

First floor level ; distant from ground, - - - 20 ft. 

Stairs, about 32 steps; stairs above the first floor level are built 

in the solid wall. 
First floor chamber ; in diameter, - - ' 22 ft. 

in height, - - - 16 ft, 6 in. 

This chamber was without light or air except from the 
outside door. 

Second floor chamber ; in diameter, 

in height, . - - 

Lighted by one window. 
Third floor chamber ; in diameter, 
in height, 

On the rampart level, were two watch tower chambers, two cis- 
terns, each holding about 650 gallons, a pigeon house, and an oven. 
The domed vault of the basement is 22 ft. in diameter and the well 
in the center is supposed to have been 105 ft deep. 





25 


ft. 


20 ft. 


, 4 


in. 




27 


ft. 


16 ft 


, 6 


in. 




SeCOTftD TZ0&7\^LyfJf.. 




*XiTIf^ TZOO^^Z/IJC 



54 

b. What is the relation of these characteristics to the plot ? 

c. Bring evidence from other sources than Ivanhoe. 

233. Give an account of the manner in which funerals were cele- 
brated among the Saxons, according to Scott. 

Can you prove whether this representation is accurate and 
complete ? 

234. How did the Castle of Conisborough differ from that of 
Torquilstone ? 

See Scott's note, History of Conisborough Castle, etc. 

235. Find all the reasons, in Scott's mind, for the death and reap- 
pearance of Athelstane. Why did Scott write note 28 on this 
subject ? 

236. Why is the conversation in which Alan-a-dale figures intro- 
duced ? 

23 7. What are the elements of suspense in the scene of the combat ? 
233. Why did not Scott choose that Ivanhoe should kill Brian, his 
bitter enemy ? 

239. a. Could the author have made it possible that Brian should 
live ? 

b. What would have become of him, had he lived ? 

c. Would the novel have ended at this point, had he lived ? 

240. Give reasons drawn from Scott's narrative for your opinion. 



1 



55 

General Topics. 

SECTION XVIII. 

Note. — The purpose of the General Topics is quite different from 
the one to be kept in mind in pursuing Topics for Study. The latter 
are intended to aid the student in gaining a detailed and accurate 
knowledge of the text, in following, step by step, the development 
and sequence of the plot, etc. But the very care and thoroughness 
with which the faithful student reads tends to divert the mind from 
the larger elements of the novel, and at the moment when routine 
study of the text is concluded and all details are fresh in the memory, 
the teacher should assign topics very different in kind from the pre- 
ceeding ones, designed to summarize and broaden the conception of 
the student. The time will be most suitable, also, for the assign- 
ment of short written papers; these topics are carefully arranged with 
a view to a critical habit of mind, and, after free discussion, even 
the young pupil will know what he wishes to say and may give his 
attention to the task of expressing his ideas in the happiest manner, 

241. How many times, in this novel, has Scott saved his plot at 
the last gasp, by improbable means ? 

What is the effect upon the reader ? 

242. How many separate stories, each about a group of charac- 
ters, do you find in Ivanhoe ? 

243. In case of each of these separate stories, find : 

a. The beginning of the story. 

b. The number of characters belonging to it. 

c. The most important moment of the story. 

d. The conclusion of the story. 

e. The points where the subordinate story fits into, and is essen- 
tial to, the main story. 

/, Do any of the characters belong in more than one group ? If 
so, does it add to the interest, or is it confusing, to find the 
same person in different groups ? Why ? 

fLofC. 



56 

SECTION XIX, 
The Theme. 

In every story, there should be a purpose, beyond the narration 
of interesting incidents, called a theme, for which it is told. In 
Ivanhoe, three possible themes are to be considered : 

a. A love story, of which Wilfred is the hero and Rowena the 
heroine. 

b. The rivalry and enmity of Ivanhoe and the Templar, Brian 
Bois-Guilbert; as, long ago, Homer sang the wrath of 
Achilles. 

c. The return of Richard, the King, the overthrow of his 
enemies, and his re- establishment on the throne of England. 

244. Questions : 

1. If a is the true theme, where is the beginning of the 
story ? The most important moment, or turning point ? 
The end of the story ? 

2. If <^ is the true subject of the story, what incident forms 
the beginning ? When is the most important moment ? What 
incident is the end of the story ? 

3. If c is the theme of Ivanhoe, where do you find the 
beginning ? The most important moment ? The end ? 

245. Which do you think the true theme of Ivanhoe ? 

Note. — If there is difference of opinion on this topic, let students 
choose which theme each will defend and argue the case, bringing 
proofs from the story. There are reasons worth finding in support 
of each theme, though Scott must have chosen one and kept it 
definitely in mind. 



57 
SECTION XX. 
The Plot : 

246. At how many points does the plot of Ivanhoe depend upon 
accident, or on chance occurrences ? 

247. How many times does the plot of Ivanhoe depend upon the 
character of some person ? 

248. How many times, in Ivanhoe, did the author lead up to a 
moment of interest and then change the scene ? 

Why did he do this ? 

249. How many times did he gather almost all the characters of 
the novel into one spot and then scatter them ? 

250. a. Why did he like this plan ? 

b. Do you know any other story in which this has been 
done ? 

251. What effect did Scott care most for in the scenes of the novel ? 
Select two scenes that you think finest and show, in each, 

how he produces this effect. 

252. Which do you think the most dramatic scene in the novel ? 
Why? 

253. Which do you think the most pathetic scene ? Why ? 

254. Which scene do you think the hardest to describe well ? 
Why? 

255. See Rebecca and Rowena, by W. M. Thackeray. 

From this continuation of Ivanhoe the reader may infer Mr. 
Thackeray's criticism of the romance. 
What were his criticisms upon : 

a. The plot, 

b. The characters, 

c. The adventures. 



1 



58 
SECTION XXI. 
The Presentation and Criticism of Character Studies : 

256. Some of the points that should be included in the presenta- 
tion are: 

a. The character as an individual. 

b. The importance of the character in the novel. 

c. The relation of the character to other characters in the 
novel. 

d. The question whether the character is a true representa- 
tion of human nature, and of acts and motives and principles 
common in the 12th century. 

e. The skill of the author in representing the character; was 
the task difficult ? Is the character best in action ? In con- 
versation ? etc. 

257. What is Scott's plan of presenting characters to the reader ? 
Note. — Some writers describe the person of a character fully on 

the first introduction and explain the qualities of mind and heart ; 
then, afterwards, they strive to make the character act in accordance 
with this introduction. Other writers introduce a new character by 
describing much the same things that would be noticed at a first 
meeting with a stranger, and each time the person appears 
afterwards, add some new feature, or explain some char- 
acteristic, so that the reader gradually becomes familiar with 
him and understands his character in the manner in which he makes 
a new acquaintance in real life. A few writers do not follow either 
plan consistently, but seem to depend mainly upon showing the 
reader how a variety of other persons regard the character, so that 
from their opinions, corrected by the reader's understanding of the 
words and acts of the person himself, a full conception is finally 
reached. A novelist may employ one of these methods, or min- 
gle them, or lack skill in the presentation of character. Topics 256, 
257, should be answered by taking one character in Ivanhoe and try- 
ing to determine which method was Scott's ; the conclusion should 
then be proved by many illustrations. 



59 

In the note-book topics, each pupil was advised to choose, early 
in the study of Ivanhoe, one character for special study. He should, 
at the close, have collected material for this study. Suggestions 
for the arrangement and presentation of this material have been 
given on pp. 12, 37. 

258. In which of the elements involved in character study is Scott 
strongest ? In which weakest ? 

259. Which character in Ivanhoe interests the reader most deeply ? 
Why? 

Did Scott intend that this should be so ? 

260. How many characters are there in the novel Ivanhoe ? 
See note-book topic ix. 

Can you give the number of characters in any other novel for 
comparison ? 

SECTION XXII. 

Chronology, interest, etc. 

261. How long a time elapsed between the beginning of the story 
of Ivanhoe and its conclusion, according to the chronology of the 
novel ? 

See note-book topic viii. 

262. Upon what, chiefly, does the interest depend in the novel, 
Ivanhoe ? 

a. Upon the plot ? 

d. Upon the characters ? 

c. Upon the setting ? 

263. In a second reading of Ivanhoe, what will interest readers 
most ? 

264. Characteristics of the 12th century. 

Note.— The material for the discussion of this topic should be 
found in the note-book, or marked in the text. In a large class, it 
will be convenient to let each pupil take one characteristic of the 




6o 

century from this list, collect illustrations of it throughout the novel, 
and compare Scott's representation with information obtained from 
other sources. For instance, the life, occupations, and treatment of 
serfs ; the differences between Saxons and Normans ; medicine and 
the care of the sick; superstitions; the treatment of the Jews, 
etc., etc. 

265. Characteristics of Scott as a novelist: 

Note. — Even young students, with careful guidance may do a 
little real critical work here. Each should be able, by the time the 
study of the novel is completed, to notice for himself one or more 
devices, or characteristics, peculiar to this author in the telling of 
stories, and to find illustrations in the text. For instance, Scott's 
love of fine horsemanship ; or, his habit of bringing characters into 
dreadful peril and then of providing rescue. 

Skillful teaching will be manifest in leading the student to make 
distinctions up to the full level of his development and ability, and 
also in the avoidance of those characteristics of the novelist an appre- 
ciation of which must be reached by aesthetic analysis, or psycho- 
logical distinctions requiring maturity and training beyond that of 
the high school pupil. 



6i 
CRITICISM. 

A few references to essays and critical reviews of Ivanhoe, or of 
the style and characteristics of Walter Scott. 

Essays on Fiction, by N. W. Senior, pp. 38-53. 

Introduction to Ivanhoe, in Border edition, by A. Lang. 

The editor summarizes several of the most important criticisms 
of Ivanhoe and discusses at length the adverse criticism of Freeman 
upon the historical accuracy of this novel . 

Contributions to the Edinburgh Review, by F. Jeffrey, vol. iii., 
part v., Novels, Tales, and Prose Works. 

English Literature, by H. A. Taine, book iv., in chap. i. 

Fiction Fair and Foul, by John Ruskin, Nineteenth Century, vol. 
7, p. 941. 

Walter Scott — Has History gained by his writings ? Eraser's 
Magazine, vol. 36. 

Eclectic Review, vol. 31, p. 526; an adverse criticism on Scott's 
success in the English field. Finest scenes are quoted. 

London Magazine, vol. i., p. ti ; on the authorship of the Scotch 
novels. 

Blackwood's Magazine, vol. v., p. 262, year 18 19; vol. viii., p. 
355; vol. xxii., p. 541. 

Rebecca and Rowena, a Romance on Romance, by W. M. 
Thackeray, in Christmas Books. 

British Novelists and their Style, by D. Masson. 

THE END. 



62 



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Each study contains a bibliography, topics for study, suggestions 
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and students : 

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63 



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For large classes, or clubs, a special price will be given on 
The Study of Ivanhoe, and A Guide to English Syntax. 

Address, H. A. Davidson, Albany, N. Y. 

New Editions and New Numbers. 
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The new edition, now ready, contains a map of Ivanhoe Land, 
and pictures and plans of Conisborough Castle, which have been 
reproduced from the publications of the Archaeological and Topo- 
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A Guide to English Syntax. 

This new number of The Study-Guide Series is arranged as a 
practical study of the syntax of Irving's essays on. The Stage 
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expressed by infinitives and noun clauses. 

"The Notes are a guide in study. The study hour in English 
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64 

separating the known facts from the unknown. At first, the Notes 
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The Creative Art of Fiction. An essay. 

A discussion of beginning of action, plot elements, climax, etc., 
intended to aid teachers and students in understanding and defining 
principles of structure and art in fiction. 

Special Needs of Study Clubs. An essay. 

A discussion of the essential conditions of disciplinary study by 
literary circles and reading classes. 



D^ Holt Yates. 



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